Australian composer Rosalind Page has a growing reputation for her beautifully crafted works. She has a particular affinity for the voice and is also known for her growing body of music for early music ensembles and performers including Ironwood, lutenist Tommie Andersson and The Marais Project.
Cool Black, a CD featuring Rosalind’s vocal music, was released in 2008, distributed by the MOVE label.
Cool Black - Music by Rosalind Page
In 2009 The Marais Project commissioned Rosalind to compose “Aquarelle” for two viola da gambas, theorbo and violin with the support of Ars Musica Australis. In this interview Rosalind Page discussed her work with Philip Pogson.
Philip Pogson (PP): Rosalind, have you always been a composer?
Rosalind Page (RP): Yes, and a dancer. From the time I could reach the keyboard I would sit and play all kinds of music by ear – and loved it!
PP: Where did you train?
RP: I took piano lessons to AMusA level and studied for a BMus (composition) at the Sydney Conservatorium of Music, later transferring my studies to USA, graduating in 1994 with a BA (Mus) Summa cum laude from the University of Delaware, also majoring in philosophy. I studied with Ross Edwards for my PhD in Composition, at the University of Sydney, graduating in 2006.
PP: Who do you admire amongst your Australian (or overseas) colleagues?
RP: Ross (Edwards), of course, for the humanity he brings to his music.
Aesthetically, I sit on a branch of the French compositional tree, my aesthetics leaning towards Debussy, Ravel, Messiaen, Boulez, Grisey. I also very much like the work of Magnus Lindberg and Icelandic composer Haflidi Halgrimsson.
PP: What is the best thing about your chosen career?
RP: To put heart and intellect into the creation of something that previously did not exist.
PP: How did you first come to write for early instruments?
I approached Tommie Anderson when I was composing my Sonetos del Amor Oscuro in 2004 as I had a long burning desire to write for lute. Tommie very graciously accepted my invitation and was of immense help in all the practical aspects of writing for lute, baroque guitar and theorbo. In addition, along with several colleagues, I was commissioned by the ABC to write a piece for Tommie as part of the “Lute Project”.
PP: What can you tell us about your new work for The Marais Project?
RP: I’ve called the piece Aquarelle. It was initially inspired by my artist residency earlier this year at CAMAC, Champagne-Ardenne, France. The residency is located right alongside the Seine. Every day I drew inspiration from the many colours and moods of the water. My composition is an analogy of La Seine, as it flows from its ancient source, Fontes Sequanae, near Dijon, Burgundy, then curving a path through the old city of Troyes, the many small towns including Marnay and onto Paris. Whilst composing, I wondered how Marin Marais had experienced La Seine. I hope an impression of his responses have filtered their way into Aquarelle. Thank you for asking me to compose this work!
The Marais Project, directed by Jennifer Eriksson, gave the premiere of “Aquarelle” at The Independent on November 1, 2009, at a concert titled “Old Masters: New Directions”. They repeated the work on 14 August 2011 at the Sydney Conservatorium.